The document summarizes Pablo Marcano García's artwork, focusing on his use of light and color. It discusses how light and color are prominent features in Caribbean art and how Marcano García has created his own imagery alluding to stained glass with bright colors and black lines. It provides examples of his works depicting important Puerto Rican figures and scenes of daily life, nature, and people.

1. Friday, June 12, 2009

2. presents

3. MARCANO GARCÍA LUZ Y COLOR COLOR Parto Musical (2009) Acrílico con Espátula 66” x 66” Col. Del Artista

4. Light and color are constant features of a large part of the Caribbean visual arts. Starting from academic painting and the lithographs that were produced in parallel during the nineteenth century, these two constituent elements of artistic production increasingly acquired a relevant position. At times, black is used in certain compositions as a counterpoint with expressive force or a line to contain areas that radiate color. Now come to mind many works by the Cuban Amelia Peláez , or those by the Puerto Rican Lorenzo Homar , or of some of the so called primitive painters from Jamaica and Haiti, only as samples of such a formal constant in diverse artistic productions.

5. Mancha de Plátano (Trípico) Albizu (2004) Serigrafía: 17” x 47”

6. Mancha de Plátano (Trípico) Betances (2004) Serigrafía: 17” x 47”

7. Mancha de Plátano (Trípico) Hostos (2004) Serigrafía: 21” x 47”

8. This constant has become a distinctive feature in Pablo Marcano Garcia’ s work. Openly alluding to the secular stained glass linked to religious buildings, Marcano García has created an imagery of his own that at the same time is national and Caribbean. In doing this, he goes beyond the limits of anecdotic and local immediacy to reach dimensions of greater projection. I am referring to the diversity of themes that has occupied his attention in recent years that is closely linked to his Puerto Rican, Caribbean and Latin American reality.

9. Sagrado Corazón Jíbaro (2002) Serigrafía 22” x 28”

10. Thus, in Marcano Garcia’ s works we can see an interest for the outstanding figures in the history of our peoples - Martí, Don Pedro [Albizu Campos], Betances, Hostos - , in the flowers that add color to our environment; from the urban landscapes to the disquieting presence of lights in certain night scenes; from various views of his native Gurabo to scenes of daily life significant for their appearance of simplicity. Occasionally, Nature bursts forth, filling with the pure and brilliant colors of flowers the entire space up to the horizon, while now and then the figures of men and women are the protagonists resting on the support chosen by the artist.

11. Luz del Cañaveral (2004) Serigrafía 22” x 28”

12. In the same way that these themes appear once and again in the work of Marcano García , their formal handling is also a constant feature. They are mainly provided by the reminiscence of stained glass - bright colors bound by the incessant black line - and the light that is wisely shed on the focal points of the composition. Light and color , therefore, are the tools, so to say, with which the artist shapes a diverse and unique body of work, encouraged by his love for the best in the life of the homeland, the desire to bring historical truths to a wider public, and the purpose of filling with beauty and brightness the daily lives of all. Pablo Marcano García has this purpose and his unremitting work attests to his perseverance and love for truth and beauty. Adelaida de Juan Cuban Art Critic Cuban Art Critic Cuban Art Critic Cuban Art Critic

13. Gurasalem (2005) Acrílico con Espátula 38” x 68” Col. Privada

14. Isabelita Flor de los Vientos (2000) Acrílico con Espátula 36” x 48” Col. Mariana Libertad Marcano-García

16. Taller de Arte Marcano García 787-737-7442 . 787-314-5640 . 787-399-0019 www.marcanogarcia.com www.marcanogarcia.com www.marcanogarcia.com

18. Sponsor: Co-sponsors: University of Ilinois at Urbana-Champaign University of Turabo, Gurabo, Puerto Rico